I don't know about Dutch temperaments, but English practice varied. 
Equal-beating temperaments were used in organs. E.g., Priestly writing 
in the J. Incorp. Soc. Organ Builders in 1957 describes organ tuners 
using equal-beating fifths and fourths to lay the bearings; the 
not-so-old ones making the fourths a bit quicker than the fifths.  
Monette, in his first edition quotes Ellis (who is translating from 
Helmholz...):

His "Rule for tuning in equal temperament," p. 489, is expressed as 
follows:
“Tune in the following order, making the Fifths closer and the Fourths 
wider than perfect. The numbers between the names of the notes indicate 
the beats in 10 seconds.
  “. . . For organs, using the metal principal (4'). . .  : c' 20 g' 30 
d' 20 a' 30 e' 20 b' 30 f#' 30 c# 20 g#' 30 d#' 20 a#' 30 f' 30 c'.”

Monette points out that "Ellis' rule is practically usable but is not 
theoretically perfect. "

My guess is that by the time you have pulled more than a couple of stops 
out, suffered the indignity of a change in temperature from tuning to 
performance, not to mention other things, it would take a very keen ear 
to determine what temperament was used. I have observed a very keen ear 
in action at a harpsichord recital, but was wasn't mine.

Regards, Richard Sedcole.

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